do is stop motion animation is we are going to be. But what we’re gonna do is we’re gonna kind of give you an overview and overview of the pioneers, stop-motion pioneers, the, the, or the, or the most significant players in this field, like the animated feature, stop-motion animation at a very slow. What’s the word I want to use? >> I wasn’t safe birth, but that’s not true at birth right away actually, but it’s never been more popular. >> Stop-motion animation is not only more popular, but there’s more work in it. If some one of you out there, this is what I usually say to my animation students. But if one of you out there is looking to go into the stop motion or interested stop motion. You have a future, there’s someplace for you to go. That wasn’t always true. They are really very few people we’re going to talk about today. We’re 90% of the people who did that stop motion animation in almost a 100 years, or at least an 80 Soft Motion is extremely small. >> It wasn’t always NGO weighed and being done, but it was never, it’s never was like it is today, where we have Robot Chicken, where we have Wallace and Gromit, where we have Tim Burton, Arden, and Henry cell. >> Like I’m leaving out people right now. >> My brain is not there. But we’ve got different field. >> We have several stop-motion Studios here in LA that work nonstop and now on everything from commercials, TV series, and of course, the whole new world of all new places that one can seller show the streaming services on and on and on and on. So what we’re looking at today is really a rough overview. >> It’s not that rough, but a rough overview of, of from the beginning to well will come it will come near to, near to today as best we get. I just want you to kinda someone said, what do you know about stop-motion? >> If you only knew what I’d talk about today, you kinda know that hit, you would know that mean history. >> You know, there is a lot more to it from the last ten or ten or 20 years, but I’ll get you up to this point and that’s about it. Then I’ll I’ll drop you off here, pick up later. So >> If you have been been studying that picture I’m showing you there, that’s going to talk about that a little bit later. >> But essentially that’s replacement animation, which means in this case, these were carved out of wood. And for the character to speak in a film they would replace that had different vowels with the different mouth movements and seem crazy. >> But we’ll talk more about it later in the class. >> But that’s one method of, of stop motion animation. So let’s see what we’ve gotten to, see if my computer here will work. >> Stuart black and okay, we mentioned him in our first class. He was one of the pioneer, Uber pioneers. >> He was a cartoonist, a writer, a magician. >> He got work at the Edison studio and they were inventing film. >> Actually, he went up there to write a story about it and ended up staying in New Jersey and blacked in, experimented with stop motion instead of letting the camera run. >> But if I just shout one frame at a time or what if I just shot a bunch of stuff and then stop the camera and change something in front of the camera, turn the camera back on again, what would happen? >> And that’s the beginning of animated film of one way or another. >> So he’s definitely on of the major pioneers. >> It wasn’t really his thing ultimately, but it was. >> But he did some of the first films and they are still around and we show them. He did that one with the Blackboard drawings. >> He did a film with drugs on a large pad. >> He did it, he did a film called The Electric Moving Company, which is a stop motion of objects in an apartment moving themselves down the stairs and out the door and into a moving truck. That was all the film was stop-motion animation of OP, found objects. >> So we keep our hat to J Stuart blacked in, who kind of figured out you could do that. Let’s talk about there that I’m not showing you this average from that. >> Most of the films and the prints that are out there pretty poor. >> And I really don’t want to subject you to a poor version of these things. >> And then you can find on your own, but right, that named OUT very important lattice Laos. Their WIC Polish worked in many different countries, Paris, Russia, all over the place back in the teens and twenties and thirties and forties, he, he did something. >> They got attention again, stop-motion films in the earliest days back in the vehicle, the Vaudeville days, back in the days of, you know, early sound, we’re still just getting used to zinc silent movies. >> People are getting used to seeing sack. >> And now ANA many drawings by the stop motion was, was, was considered a novelty and really someone needed to be set up to do it in the big picture of things from the beginning of time here to, let’s say the 20th century Unless there was no Walt Disney for stop-motion. Me, Walt was dealing with the hand-drawn animation. There was nobody. >> Client Von high found instance successful stop-motion Mickey Mouse like character just didn’t work that way. Stare WIC carved out his own little unique thing, which you can see in this picture. Here are a bunch of his puppets to quite large. If you look at, if you can, if you can see the little arrow that I’ve got twirling around back here right under that spotlight is these look like big insect characters. Well, this is his claim to fame. He did a lot of stop-motion films, his first ones, because the idea of building a model for stop-motion characters, we take that for granted today. >> Know who made that up? >> I can’t say he did, but he certainly was one of the earliest people to do it. >> But richer, which the skeleton inside the model that helps you move the doll, the character, the puppet he got the idea of, of taking. Now get this. If you’ve ever been to one of those museums, natural history museum or whatever, and they’ve show those that you’ve seen, those giant insects from like the Amazon from some foreign country that had these bugs that are gigantic. >> I think you all know what I’m talking about. They occasionally would have Amman, Eleanor, some talk show or something or they’ll have a zookeeper with somebody’s giant bugs, right? >> Well, he got error, which got some of these giant bugs, any stain them and then museums like another dead. But here, there, there, you know, he, he got some of them and he figured out a way to move them. In fact, you can see in this picture here in people with little boots on them. He turned them into characters for his film. >> You know, we’ve all seen a bug’s life, the Pixar picture. We’ve seen many cartoons with animated insects. >> These were actual insects. >> If they were dead and he animated them, they were so large. >> If he, you know, he figured out how to do that and frame-by-frame animated them. And his earliest films, again, feel free to back me up and looked this all up later. >> Check out some of the films online were these animated insect films. >> And that was the novelty. >> That was the novelty. It isn’t anything about stop-motion was it’s magical from the outset, unlike, unlike, But the thing is there’s if you’re gonna do something and stop motion, you’re going to do something that nobody’s really seen before. So the idea of a moving chest of drawers, you know, moving itself down a flight of stairs. That’s magical. Insects, particularly heaving as humans. >> Wow. >> Well, you know, back in those, back in the earliest days of film, when there was no sound because there was no dialogue. >> It was easy for Our phones like the brought over here put with English subtitles and things. >> So he was, he was in a niche to himself doing these little bug films of the teens and twenties. He then moved into doing puppets and models. >> Sarah WIC, let’s smooth than Willis O’Brien. If we were doing this live class, I would probably say. >> Is anybody here heard of Willis O’Brien? >> Maybe one of you have you might tell me why. >> I would say why. What have you heard? And you tell me what is most famous film is. And I will tell you all that this is him very early on and teens battling a asked or an elephant, I guess it’s a mastodon is Workshop. He was a sculptor who was really interested in the universe of prehistoric monsters. Well, prehistoric creatures, you know, dinosaurs, in other words, and that sort of thing. I was his thing. And when film began, he got the idea too, that he could build his creatures and move them and make them move with the camera. >> With, with the new invention of the idea of stop motion, I can make these dinosaurs come to life, you know, who wouldn’t want to see that? >> You know, we all go see giraffes part today. You know, the idea of seeing a dinosaur or something that we in our lifetimes, they’ve never seen something he wanted to see for sure. >> So he built creatures and he started to animate them. >> He actually had the idea of wanting to get into the film business. I need to see if there was a way to make money out of this. >> And the only way you figure was he could, he, he, he figured out a way to make a series of stop-motion comedies about prehistoric times. >> I forget the names of them, but you can find that one of them or two online. >> It was very rare for many, many years that it recently surfaced out of seven the archives. >> But this little series, unlike the late teens of, I would almost say like the Flintstones, except it was silent and stop motion, and it didn’t look anything like the Flintstones. But the idea was it was cave men and dinosaurs, and that was his thing. And they were funding their comedy, little funny films. They didn’t set the world on fire. Almost everybody’s forgotten completely about them. If they didn’t resurfaced recently, no one would even have remembered them. Didn’t last very long, but he did this kind of work on Hollywood. Noticed that’s the one thing you got out of it. >> People noticed that, hey, that’s unique, that’s interesting. Maybe there’s a way to use that. And people filed that back in the back of the brain. And then he got called for such work. >> I mean, that really wasn’t work for animate animators doing stop motion. He attempted to do, let’s stop there for stuff that didn’t quite work out either. >> So but he was now specialist is considered a specialist in this sort of thing. >> So in the early twenties, like roughly 1920. I’m not sure the exact year, to be honest. >> I’m always front face forward. >> This movie came out in 2005 and they claim they’ve been working on it for five or six years? I don’t think so, but more like two years would make sense. >> At least two, maybe even three. But this was based on a famous book by Sir Arthur Conan Doyle. I believe he was the author of Sherlock Holmes. >> And it was about a world about, about a scientific expedition to a strange plateau that, that, that they find derivatives. >> But a guy found dinosaurs were still living there, prehistoric creatures were still living there. And this was a live action movie. >> But they called upon Willis O’Brien, which by this poster even says on it on the side, research and technical director will SHO Brian. So he got credit because he produced a fifth of the movie is stop-motion dinosaurs. And you know, we live in an era of this kind of special effects movie today. >> Nobody ever saw that kind of thing. Then they were still used to, you know, damsels in distress and costume dramas and Westerns and movies, just movies that would take you your mind away from things. >> Well, this is a great idea for that. >> They made a movie. >> O’brian also pioneered for this movie lots of ways to do different kinds of special effects, including the glass, the glass plate. >> They call that exactly with the glass now, matte painting, where he would on glass paint a section of the frame of film you’re supposed to be looking at. You put the frame of the glass in front of the camera, or you shoot through it. And the live action actors are out there in the distance, and it looks like they’re in this other scene that you’ve partially painted. >> I mean, that was later done away with Matt paintings optically put in. >> Today we do all that kind of stuff on the computer. >> But but it was a new invention then. And between that be stop-motion dinosaurs. >> I’m going to show you a trailer. It’s a little funny, it’s little funky. It doesn’t have any sound. >> It’s pure silence. >> I think it’s two minutes. >> And it’s clips from this movie, the lost world. It’s, it’s, you know, some of the shots still work. I think some of them look a little primitive to us today. >> Occasionally they’ll have, like you’ll notice, a dinosaur’s tail. >> Will they built a, built the actual tail and that’s in the shop with the humans. >> But it also knows a lot of shots with the stop-motion dinosaurs and, and human characters. I mean, that was very, very unusual, heightens special effects. >> One of even talks about special effects, why this movie probably is right at the beginning. How possibly some of the male gaze tricked films or earlier would be there too. But this is really, really the beginning of the universe of what we do today. >> So v. Let’s take a look at the trailer. It’s about two minutes. No sound from the lost world. >> Greatest entertainment brains >> We invented. >> Okay, second here. >> Alright, so we’ll put his name map there. >> But there really wasn’t much call for this sort of thing. That said though, that the film was a big hit in the silent era. >> So a few years later, the sound era comes in and the same producers get the idea. Well, we got to do something like this for sound movies. >> I don’t know. I don’t know what led them to another property and it’s supposed to remaking this failure. They just felt they should not. >> Repeat thing. >> Came up with another property which was called King Khan about that. This is not King Kong in that picture there. >> That’s mighty Joe young. But we’ll talk about that. This is Bill sobriety of 40 is actually 19 forties. Yeah, they went back and they came up with it with King Kong. That was really going to be a spectacular. They learned a lot of lessons in Orion, came up with some new techniques. And King Kong was a major, major movie of the 130s, 1933 for a variety of reasons. >> One of the first films to have a musical score, you know, which films did not do up to this point? >> And the idea was that there was, silent movies would, hadn’t musical accompaniment. Pianos are orchestras. Then sound came in. >> And believe it or not, outside of musicals, which would have saw almost. And the idea was that real life doesn’t have a background soundtrack, music playing in the background. >> So the idea was that you were photographing real life. The dialogue moving picture made it made it made everything. We’re real. So the idea of adding the fantasy of a musical score behind it didn’t make any sense. >> At least that was the original thinking. >> By the time they got to King Khan, they needed a musical score on this. >> It is, there’s large sections of no dialogue in this movie. >> In fact, I’m going to show you a clip of a large section with no dialogue or very little dialog. >> The, and of course, the film is an iconic classic. >> And every way, and one might think that they’d be now a rush for this sort of film. >> But that didn’t exactly happen. >> I think we will right now because we and I’m always so how many people in my classes have never seen the original King Khan? I know the special effects teen guys don’t look as spectacular as adventures and gamer or, or even recent remake of cane cotton from Peter Jackson. But the thing is, this was a, you know, an eye popping spectacle that inspired many, many, many not only stop-motion animators, but but special effects directors and things like that, for years and years, it was there. This was their touchstone. >> This was the film that changed their lives. >> Some animators back in the old days and Thursdays would say Snow White came out and I had to be an animation. You know, everybody has their touched on this film. Launched a lot of careers in special effects. So let’s take a look at a sequence from King Kong of, if you like it, please go out and go see the whole film. It does feature some politically incorrect natives in it. But beyond that, it’s, it’s, it’s a pretty code film to it’ll actually features like nudity and things as all sorts of things in it that were later cut out, but they’re back in now and here we go. >> Singular, hello. Yeah. >> Alright. >> In Kang, nothing better than King Kong. >> Alright, so yep, there we go, right there with me. Everyone will also Brian, we gonna sorry everyone have this zoom works. >> Okay, so there is more. >> I am the king of stop motion animation and special effects. >> A number one guy that anybody would go to, they immediately just to, you know, rushed into production. King Kong came out at the beginning of the year of 1933. >> By the end of the year, I still find this hard to believe. They actually made a SQL call son of Khan. I believe it came out the same year at the end of the year. >> That’s how popular it was. >> And unfortunately, because they rushed it out, so to speak, it’s, you know, it’s 90% live action or even more. >> And it’s about like Western, 10% animation of a different character in a completely different story. >> More sympathetic little little King Kong. I mean, the whole thing, it’s a different movie and it’s, it’s nowhere near its it’s forgotten practically, but it’s out there, son of conduct worth seeing and some good animation. >> And the O’Brian went back into doing special bits for Animate for films every once in a while. I couldn’t give me a list right now. >> But there are films that on occasion, comedy films, dramatic films, special effect films, films that films which require showing you a, you know, a plane travelling in the mid air and they do it in miniature instead. >> Orion work, that, all of that sort of thing. >> For years, despite his being a specialist, there was really no call and no other markets. There’s just the movies. >> There was no television or anyplace else to do this sort of thing. >> If anybody wanted to do it, if anybody was looking around to get into it, they either had to create it on their own. You know, there were a couple of other people doing animation now that I think about it, but it was like low level. >> It was for this distribution on home movies, 16 millimeter, to schools for children. >> I mean, they’re obscure, but they exist. >> There are films, there was smog, stop-motion films here and there, but nothing that really shook the ground. And I’m trying to give you the the real game changers. >> And that would bring us to re, Harry House. >> And I think we’re going to we’re going to get back to let me see let’s see where we’re going here. >> But we have, we are going to be going back and forth a little bit in time. So, but I have a feeling we’re going to jump up a little bit and then we’re going to go back to the 19 forties for another person, but with Ray, Harry has, and malaria’s with one of his famous models, a skeleton come to life. That’s a cool idea for a stop motion figure. >> If you saw >> Monster’s Inc. Pixar did it, played a tribute to Mr. Harry hasn’t by naming a restaurant that they eat in Harry houses. If you look at the menu were carefully in that movie, you’ll see it. If you don’t know the name. Ray Harry, how’s he was probably the most major name, even surpassing Willis O’Brien in the field of stop-motion animation. I’d say from the UI, late forties, maybe early fifties, fifties, sixties, seventies. >> Yeah, 30 year career. >> Maybe a little more for that. >> And we’ll look at before that. He was definitely the king of this sort of thing. And he was a teenager. When King Kahn came out in 1933, solder Chinese theater in Hollywood Boulevard and blew his mind. >> And apparently blew a lot of people’s minds. >> When it blew his mind at a literally had to go home and start to figure out how to do this. How do you do that? How can I do it? Is not even care if there was even a job in it and there wasn’t. But he did do that and went back home. I don’t even know what my next slide here is. Let’s see. Oh yeah. Well, I mentioned before, and as it says on this poster, technical creator, Willis O’Brien is, is right there on the poster. It’s rare that special effects people get Billing, but but he earned it. These are the same producers. I know it sounds like I’m jumping around, but I promise you we’re on, we’re on the same track here. These are the same producers of King Kong and Marion C Cooper, lost world, and even Robert Armstrong. And the cast is returning a King Kong cast member. The director is the same as King Kong and I believe the lost world. And Willis O’Brien, Of course, here we go again. This is the 19 forties after the war. >> They thought, let’s do another take on all of this. >> Kang being, you know, the biggest thing they’d done. >> They really felt they couldn’t do it again. But they tried to do with different, a very act on the, on the, the, with the mighty Joe Young, which you may or may not have seen. I know Charlie stare and started in a remake that I have never seen. And I have no idea if it’s any good shorts, all CG or, or a man and a costume or something. Here’s stop-motion animation of the idea of a large ape who’s kind of friendly, ish and is tamed by a young girl, Terry Moore. And I’m going to show you the trailer for this movie, which is again, a little hokey and little corny, but it’ll give you a flavor of this is now 1947, and this is where Ray Harry has it gets his second job, second in stop-motion. But I’ll go back to the first later and I’ll give you more than Ray. Harry has disturbed. But this is, this is Ray got finally got to work with his idol Willis O’Brien and not only worked with him help build models, but also directed some of the animation as well. Got a real chance. >> To hone his skills in this, let’s take a look at the trailer for MIT Joy Yang and then I’ll come back and talk more about areas there. Kind of waiting to see John pored over my ne johayo sensational exploit. Whoops, you were hair-raising excitement lenses. You might enjoy these tablet to capture in his native Africa, see the most fantastic relationship between beast and beauty. Mere girl mastering a primitive giant sea mighty, enraged by Hollywood destroy film, Landsbanki as Sunnyside spread. Joe young, one-year than king I’II show. >> You. Gotta remember, we’re used to these monsters on the loose kind of films. >> That wasn’t, it, wasn’t the norm back then. Bear with me a second while I get us back to normal and we’ll get you there. Alright, so this was kind of, this was a Threadless is, this precedes other giant animated creatures on the list of movies. >> And but in a way, it, it, because it’s gray hair he has in his involvement with that, that’s the beginning of that sort of thing. Harry hasn’t learned, I guess from O’Brian that the only way you’re going to make a movie. Or Brian was kind of laid back at this point. He was content doing effects, small effects films. Ultimately did other couple of other, did the movie and here’s later called the Black scorpion might look into that, but he mainly did like little smaller things, smaller bits, use content to be now the elder statesmen. He had a good situation in Hollywood and maybe lost a little bit of his ambition. But how he hasn’t had loads of ambition and really wanted to see, you know, you wonder, well, do you want to keep working and you want to keep working, doing this, but who’s going to hire them to do it? So he actually went out, he figured it out. He literally figured it out. He got himself a Hollywood producer and he started concocting movies that would require such Effects. He didn’t really write the screenplays, he would create sequences and he’d do them. Priv is meaning gain things. >> And they pitched to them duty. >> He had a substantial B movie producer as his colleague, a guy named Charles sneer and will produce all kinds of other movies, but went with Harry house and to try to sell these and sold them mainly to Columbia Pictures and the early earliest days, and then went off to other studios as well. 20 million miles to Earth is one of their first films about a creature from the planet Jupiter that comes back in a spaceship that was sent to Jupiter and wreaks havoc in Rome. Oh, sounds so strange to me when as supposed to New York or Tokyo or something. But, but, you know, again, he came up with what would be, what would be a good visual? The idea of this creature, you know, wrecking the, you know, the famous ruins in Rome, the Greek ruins, things that maybe that Greek ruins of Rome, Roman and various other Italian landmarks and labs pitch. And that’s what the movie they made. The, they made many, many, and maybe every two years or so, another one of these wonderful little movies come out in black and white, and I’m leaving out all the pictures and all the titles. >> But we know Earth versus the flying saucer is, you know, it came from beneath the sea piano. >> And then finally, they, they sold Columbia on the idea of a color movie with these special effects. Could they, could they do that? Because with color make it look more faith and more miniature. United these creatures are. The Seventh Voyage of Sinbad was a breakthrough in special effects and, and it was a big hit actually. And this was like 1956 on there. I’m not lobby card and that was a great be loved almost, I won’t say kids film, but because it’s been beloved by kids for years as a Cyclops and all kinds of great creatures in it. And how he hasn’t done this for his entire life. He would come up with these sketches and ideas. They’d get it, they’d get a writer, a screenplay writer to, you know, to fashion the screenplay. They’d get a Director of some note, you know, somebody who could possibly work with live action and animation to work on most of these. Lucy Harry’s hasn’t gets his visual effects created by credit, but he did a lot more than that. He was the instigator of these movies. Lot of, lot of books about Carrie has an out their hair, has himself has written at least three books about his career. They’re all good with lots of information about how he did not like the movies, how he sold them, how he made this, he made his own career doing this. You have to do this. >> There was no central stop-motion place to do this sort of thing that was in business. >> We figured out his own way, zone path. Jason and the Argonauts was kind of a follow up to The Seventh Voyage of Sinbad. And that featured this sequence one that Sinbad had one of these skeleton creatures. What if the characters in this movie, You know, attack by an army of, of a whole bunch of these creatures. And that made for very spectacular sequence in the movie. I don’t, I don’t know how it looks to modern-day eyes. I know to my eyes I can see, I could see through the special effects, but I must say, when I was the Herzl, when I saw this in the movies, I thought this was the make the most amazing thing I’d ever see. I thought this was real and I had no idea how they did it. Now, I mean, I look at it today, it’s obvious how they did it, but, but it really, really sense of wonder that these movies inspired by a whole generation V. >> If we’re ready, let’s take a look at that clip from Jason and the Argonauts rise up to date. Slain of the hydride rise from your graves and offend jus, those who steal the Golden Fleece must die, I guess get Donahue take home with me. Yeah. Okay. Yeah. >> Talk about your walking dead. >> So see if I can get us back this work. >> So Jason and the Argonauts sa re areas sat back for a minute. >> The oh, my picture. Greca Or you go toward him in a second. >> But if I only get my computer to stay here for a minute, rehashing hasn’t if you don’t know his name, hopefully no noun. And you may have seen some of his films throughout your life. I did a film called One Million years BC with Ali of Huangdi, first men and the moon, Mysterious Island, boy black, and recite probably all his films all throughout the years. He, in the seventies, he kind of, he started redoing Sinbad movies like The Golden Voyage of Sinbad and several others. His final film came out in 1981. It was now afterwards Star Wars. By the time of Star Wars, Keep in mind, start was 77. >> There still was no CG. >> And there was of course, stop-motion effects in that movie Split, most notably, the little chess game on the Millennium Falcon. >> And in The Empire Strikes Back, most notably, the, the Walker’s, The giant band robot-like empire ships, they’re walking things. >> At the beginning of the film, that was all done. Cg, the, so around the time of empire, his last film came out, which was the first original Clash of the Titans, which is a pretty good film in retrospect, all-star cast and has some good animation. And I feel it’s a little bit funky. You know, at the time that it was made, it was a couple of things. I like that in a couple of things. They didn’t think all that great. In a few short years after that, actually more than ten, Jurassic Park would come out. And Harry has retired. Spielberg invited him to a screening in advance because they knew each other and he really respected the houses, were dressing partners. We’re just gonna get stop-motion film, by the way. And about really early on, they realized it was going to be easier to do with this newfangled CGI. >> Cj had PR perfect it enough to get the photo real images. >> So they went with CGI and I really kinda blew people away that first film. And but they showed it to Harry house in, who was insanely delighted with it. This is the world he wanted to be any, wanted the world to see. He loved the prehistoric creatures like Willis O’Brien and wanted to see one, the coelom, wanted to see them move. Soon brought the life and he didn’t care what technique it was. All we add with stop motion before cg cg came along. He was he said if I were younger, they would absolutely be what I do. I would be doing this. >> This is what I be going. >> So it’s connected, you know, from the old days to today. >> Okay? >> We’re going to go back and back to the forties and in some ways the thirties, but the forties with George Palade. George pal, what do we know about george? How? I wonder if anybody in the audience is familiar with the works of George power. If you are, you’re probably familiar with the feature films that either directed or produced in the 19 fifties and sixties. We’ll get to that in a minute. George Pao was a stop-motion animator who’s actually a hand-drawn animator back in the early thirties. I’m sorry, I don’t have all kinds of images to show you while I discuss, to discuss this, we’ll just look at this one picture of him. He would eat ease in Holland comes from, is worked all over Europe as people tended to do back in those days, found his niche and making animated commercials that would be shown in movie theaters for sponsors. It could be, it could be anything. Mainly for him, it was the Philips radio company, a company a made radios back and that that was then. So they would advertise radios in movie theaters with George pal animated film. He did them for various clients. And the first ones were all hand animated and they look very much like hold a cup heads style of the early thirties, the very classic Hollywood looking of that early, early period. Then one day he was asked to do a commercial with some cigarettes. And the idea was to cigarettes would be marching. This is back when you, when people didn’t realize how dangerous smoking cigarettes were and that the idea of advertising them was, was a big business actually. >> So, so he somehow he stumbled upon the thought that, that, that it would be easier to animate these cigarettes marching with stop-motion. >> Actually, take two of the cigarettes and just move them in front of the camera. Told out to the client, said sure, go ahead, try it. And he did it. And it was so pleased with the outcome, it was much better thing for the client and the actual cigarette in a commercial that the PAL got more intrigued with doing stop-motion, but he wanted to figure out an easier way to do it. He was a hand-drawn animator. He knew how that worked, but this puppet animation was a whole other thing. >> How can I have a puppet film that would look like a cartoon? >> Now we live in a world today where you can go out and see Inside Out or Cloudy with a Chance of meatballs. You know, an animated film, that CGI animated film, and it looks like cartoons, even though its dimensional upgrade, dimensional cartoons, that wasn’t what will Willis O’Brien was doing, was building dinosaurs, didn’t move, making them by Lb. We wanted to continue making cartoons, but, but with puppets in stop-motion. How would he do that? I don’t like that character he’s holding right there. Well, what he did was he would he would kind of accidentally, although intentionally did, was create that image. I showed you before, replacement animation and created this technique called replacement animation, which I’ll probably mention later on, is still used today. And you’ve seen it, if you’ve ever seen any of the Laika films, films like coral line, where the box trolls or parent norman Or Cuba, and the two strings or many other things that are done today. The Corpse Bride use replacement animation for the, mainly for the faces for the most part. >> Oops, this section talked over this image, which is an example of this is a soldier in the screw wall army. >> And here’s he’s walking. >> And each one of these puppets had to be built separately. >> And you can see there’s a different movement if you just look at the feet, legs in particular. >> And these are for, for the puppets, for, I guess a twelv puppet Walk cycle way. >> They would do it a way. Some of the in fact, I think a lot of the way the replacement admission is done today is sort of the same, sort of a secret technique, which was they would hand animate on paper the movement. Then they would go out in these days and they’d literally carved out of wood and sometimes plastic. They would create make some plastic molds, but mainly would and they would and they would I mean, it’s hard to believe. I don’t have the photo. There’s a photo of George Pell surrounded by thousands of pieces of his puppets. Just the pieces, the arms, the legs, the heads. >> He called this technique puppet tunes. >> He was doing this a Europe. Luckily, he wanted to get out of Europe. He wanted to come to America because the war was starting in my late thirties. And he came over here to give a speech at Columbia University in New York. There happened to be a Paramount Pictures executive in the audience. I mean, a filmmaker from Europe with unusual films that would attract somebody from movie studios went out and saw his stuff’s awesome of his commercials. You’ve talked about puppet animation. And then the next day they, they gave him and made him an offer. Would you like to make some of these puppet tunes for us as short subjects for Paramount. >> Well, he jumped at the chance, moved to California and open up a studio. It’s like 194041. >> So I said before there really was no studio doing stop motion. Well, I guess this was the first one really, I mean, not counting the freelance and on occasion work that will Brian would do. The George Pao puppet dunes studio is pretty much it. And they made shortage subjects for about five or six years. Yes. >> I’m going to show you one the the tech. >> He won an Oscar for the technique, not for any particular film, but further technique because it was so new and unusual. And mz, I think the awards for the novel use stop motion or, and these are some of the characters in the series. Paramount had that Hollywood thinking they wanted to call it the mad cap models. And but towel wanted to call him puppet Tod’s. And he ultimately won after a year of the first year of them as mad cap models. They were forever known after. That is puppet Hinton’s. >> I’ve got one. >> I forgot which one I got, but I got one here. I think we’ve got, I think we’ve got guys that rhythm in the ranks, I think. But v, If you’re ready with that, let’s take a look at one of those George palpable features, those screwball army characters that you just saw a moment ago. I got a second here. >> Oops, oops, I hope I didn’t do something wrong. >> Where yeah yeah. Boom.